Tag Archives: publishing

Inside Bloomsbury Publishing for Editors and Proofreaders

In a brand new event series, Inside Bloomsbury, Bloomsbury Publishing is opening up about how it creates and publishes its books by inviting key members of the Bloomsbury team to talk about what they do in more detail than ever before. In this second event of the series, a follow-up to ‘Inside Bloomsbury Publishing for Illustrators’, a panel of Bloomsbury editors discussed the skills needed to edit works that please authors, agents and publishers – in partnership with the SfEP. Andrew Macdonald Powney tells us more about the event on 25 October.

Door to Bloomsbury Publishing's offices on Bedford Square, London

Bloomsbury Publishing, Bedford Square, London.

Bloomsbury publishes 2,500 titles annually, 80% of which are non-fiction. Every seat at the Bloomsbury Institute was booked on 25 October for a discussion between three Bloomsbury editors: managing editor Marigold Atkey, senior editor Xa Shaw Stewart and special interest editor Jonathan Eyers. It was chaired by Abi Saffrey, an Advanced Professional Member of the SfEP.

Jonathan summed up the stages of the in-house process: a structural edit by the commissioning editor, then a copy-edit focused on clarity, next typesetting, and only then proofreading – with checking e-books coming last and paying least well, since by that stage most errors have been found. Bloomsbury wanted quick, thorough, accurate proofreaders. The firm tends not to recruit through the SfEP directory, but rather, according to their own intelligence and contacts, and through the constant stream of CVs dropping into their inboxes; Jonathan Eyers gave examples of proofreaders without previous experience whom he had employed because something particular made them stand out. Editors might well take note of training like SfEP and PTC courses, however.

Working with Bloomsbury

So how can proofreaders attract work – and repeat work – from Bloomsbury? As to breaking through in the first place, Jonathan returned a couple of times to saying that a letter looking for work plus a generic CV stands next to no chance in competition against a distinctive application from someone with specialist expertise. Editors are on the look-out for people who may know more than they do on a topic that might cross their desks. These get added to the contact list.

Once employed, a freelancer’s flexibility is important, and for tried-and-tested freelancers this can work both ways. Reliability and turnaround are essential. Timings might be 2 to 3 weeks for proofreading or 4 weeks for copy-editing a text of 80,000 to 100,000 words. It will pay the freelancer more in the long run to stick to the agreed fee. Failing to keep to the deadline is another great way to mark yourself out as a risky pick. A third classic error is forgetting to back up the text you have been sent, which you need in case of file corruption or queries over changes. Freelancers can also lose credibility by altering text when they should raise queries; changes to the text that turn up only at the proofreading stage mean alterations to the typeset text, and that is expensive. Both budgets and schedules are tight and margins for error will stretch only so far (Marigold has worked on 38 books to date this year).

Marigold Atkey, Xa Shaw Stewart, Jonathan Eyers and Abi Saffrey at the Bloomsbury Institute

Marigold Atkey, Xa Shaw Stewart, Jonathan Eyers and Abi Saffrey. Photo: Ruth Burns Warrens.

The same but different

In-house editors within the same firm may have different approaches. Marigold might line up a proofreader at the same time as the copy-editor, and she might look for an indexer or even a freelance map illustrator as well. Her brief with the Raven imprint brings in fantasy, and a recent book required a floor plan to go with the text. Xa’s work with cookbooks might lead her to seek out ghost writers or project editors (though Bloomsbury seldom has need of freelance project editors/managers). Jonathan’s team looks to commission and publish non-fiction texts for identified niche markets, which is why it is subject expertise in a proofreader that especially attracts him.

Publishers have slimmed down, but that increases the overall proportion of freelance work. Whereas a few years ago it seemed that a few conglomerates might buy up all the independents, another possible future for publishing may now be coming into view: many, small independents without physical offices, producing books through networks of freelancers in a world where almost no one is in-house.

Practicalities

The trend is towards electronic mark-up for copy-edits: though the vast majority of Bloomsbury’s proofreading is still on hard copy. Thus, the BSI marks remain indispensable because they are internationally understood. Editing using Track Changes in Word is pretty much the rule and the system, though Xa felt that working from a paper copy as well might still be most effective. Her particular titles create a premium on freelancers’ awareness of visuals and design. The passage from book to e-book is now practically seamless, requiring comparatively minor changes like the position of the copyright page, and there is little freelance work in this area. Encouragingly, though, outsourcing the process to cheaper markets has its limits, since Bloomsbury requires quality in production and editing, especially sensitivity to nuance and idiom. In cookbooks, not just “broil / grill” or “zucchini / courgette” but the density of flour (and therefore the amounts in a recipe) may vary between the US and the UK.

This early evening on Bedford Square saw the Bloomsbury Institute introduce trends present and future clearly and enjoyably to a large, varied, and interested audience. In a show of hands, only five or six attendees are based in-house. Perhaps those few will take back the idea of this event to other publishing houses too.

Andrew Macdonald PowneyAndrew Macdonald Powney is an Entry-Level Member of the SfEP. He taught Politics and RS in state and independent schools after taking degrees in History and Patristic Theology, and he is now based in Edinburgh. Andrew is interested in political, religious, theological, and educational texts, and Plain English. His own writing appeared most recently in The Tablet.

 

Posted by Abi Saffrey, SfEP blog coordinator.

The views expressed here do not necessarily reflect those of the SfEP.

Navigating the freelance talent pool

BookMachine’s Laura Summers introduces their latest white paper, which talks about how editorial managers can tap into the vast pool of freelance editorial professionals.

Navigating the freelance talent pool

The SfEP directory is a great example of the scale and importance of freelancing and outsourcing work in the publishing industry today. Browsing through the listings gives such an insight into the scale and breadth of professionals all over the country. Everyone on the list is working in publishing; but aside from the moonlighters, most are editing away, far from the confines of a London- or Oxford-based publishing house.

Over the past six years, the BookMachine team have noticed a definite increase in the numbers of freelancers attending events. This might be due to the inclusivity of the community, and that those working outside a traditional publishing company have more company events to attend and aren’t looking to build their network in the same way that those running a small business are. However, we suspect that it is more than that. We think that the freelance talent pool is growing, due to increasing demands for publishers to work on more complex projects with tighter turnaround times and often increased volumes. The need for out-of-house support has never been greater.

With this in mind, working on behalf of Just Content, we produced a new white paper for the publishing industry with vital information and advice on tapping into the freelance talent pool.

It is aimed at editorial managers, though it caters to anyone involved in conducting team projects within publishing. Which is everyone really.

With evidence that the freelance market is expanding both within and outside of publishing, the white paper is a timely reminder of how we can all work together harmoniously.

You can download it free of charge today.

Laura Summers is co-founder of BookMachine – the community for people who make publishing happen. As well as organising events for the industry, BookMachine manage an online network of professionals sharing advice and knowledge. Laura and her team are also available to manage events, business development and marketing projects for small and mid-sized publishers.

My life in publishing

By Alysoun Owen

‘Publishing a book is like stuffing a note into a bottle and hurling it into the sea.’
Margaret Atwood

Margaret Atwood is expressing her views as an author of course in the above quotation, but it might just as well have been uttered by a publisher or an editor: a variant on the ‘publish and be damned’ theme. A strange maxim on which one’s whole working life has been based! And by one, I mean ME and my living and breathing of all things literary and publishing related for, ahem, the last 25 years. Ah, the wonderfully inexact, mercurial world of publishing, a put-your-finger-in-the-air, test-the-waters, wait-and-see sort of profession.

As we publish the 110th edition of the great red tome, all 816 pages of it, that is the Writers’ & Artists’ Yearbook (on 28th July), I’ve been reflecting on the two strands of my life and career that have led me to my current role as editor of the Yearbook: the love of literature and desire to see the best possible writing made available to the many combined with a need to get things right – to create saleable ‘products’ that are accurate, reliable and economically viable. Writers' and Artists' Yearbook 2017That’s what we hope to achieve with the Yearbook: a successful book that readers, in their tens of thousands, want and need (what Susan Hill calls ‘the writer’s Bible’ and Deborah Levy, who penned this year’s foreword, describes as ‘full of information that all writers need to know’). A book that is full of reliable, factual information: who to contact at a book publisher or literary agency, how to write an agent submission, mastering social media, the dos and don’ts of self-publishing, copyright, tax and other financial advice AND which brings together the words of wisdom of great writers who were once themselves debut novelists, poets, screenwriters, journalists … to inspire each new generation of writers and illustrators who wish to try their luck in the turbulent waters of publishing; hurling their own message in a bottle into the high seas.

I started my own publishing life when I was little, making up little books of stories when I was a child. Not very good stories: I was always much better at collating my sister’s efforts and illustrating them into a creative whole than being an author. I was blessed: I lived in a house lined with bookshelves and chatter that was often about books and plays. My mother was an English teacher. My father, now I think about it and fittingly for a blog on the SfEP site (see the BSI symbols for proof-marks), worked for the British Standards Institute (BSI); he was an electrical engineer and concerned himself with international safety standards in that field. Often in the evenings, my mother would be sat marking or editing her pupils’ work at the kitchen table, whilst my father sat at his desk reviewing and revising (i.e. proofing and editing) the latest Standard. You could say it was no real surprise that I would then opt to take a degree in English Language and Literature: a three-year scamper through the literary canon from Beowulf to Woolf (with a smattering of more modern American writings thrown in). From university, I spent six months learning from experts how to print, desk-top publish, take photos, bind books and most relevantly to copy-edit and proofread using the correct marks. Armed with a degree in English, a diploma in Publishing and my trusty red and blue manuscript-correcting biros, I began my career shepherding hundreds of titles for students of literature in Longman’s Higher Education Division. What a delight to actually be working with and editing the texts of former tutors and the writers of edited texts and critical editions that I had relied on so heavily as a student.

Each of my subsequent roles in the industry has contributed to my present position: from Longman I headed to OUP to desk edit and then commission notable reference titles: The Oxford Companion to English Literature, The Oxford Dictionary of Quotations, The Oxford Companion to Wine … and one of my proudest and most lucrative (for OUP that is!) commissions, celebrating the magic of words, Simon Winchester’s The Meaning of Everything: The Story of the Oxford English Dictionary.

Forays into online publishing at the dawn of a new era of digital publishing, establishing a publishing consultancy and project management company and working with publishers large and small in a new freelance capacity offered me the chance to experience all sorts of editorial and strategic avenues: coming up with new ideas for print and digital propositions, establishing teams of freelance editors, project managers and designers residing in far-flung places, but working collectively to make each print book or ebook or CD or website the best it could be. I love being in charge of my own destiny, professionally speaking, not allied exclusively to any one employer. Yes, freelance life can be precarious, but highly rewarding and flexible. Which takes me back to the Yearbook – which I edit for Bloomsbury from January to June each year with a band of expert editors: as a group we commission, collect and collate the content for each new edition. It reminds me how lucky I am to be working in such a field.

Photography by Paul Wilkinson Photography Ltd.Alysoun Owen is the editor of the Writers’ & Artists’ Yearbook and the Children’s Writers’ & Artists’ Yearbook. She has worked in publishing for 25 years, runs her own publishing consultancy business and is a regular speaker at literary festivals on how to get published. For advice, news, blogs and details of editorial services and events, visit www.writersandartists.co.uk.

 

SfEP members get a discount when buying the WAYB or CWAYB. Click on the book image above or go to benefits in the members’ area of the website.

Posted by Tracey Roberts, SfEP blog coordinator.

The views expressed here do not necessarily reflect those of the SfEP

How I got started – Abi Saffrey

SfEP logoOne of the most common questions asked at Society for Editors and Proofreaders (SfEP) local groups and by those interested in pursuing a career in editing or proofreading is: ‘How did you get started?’.

SfEP professional member Abi Saffrey shares her story in this regular blog feature, which explores the many different career paths taken by SfEP members.

I’m not an unlikely editor: I’ve always had a passion and aptitude for language, adore the feel and smell of a book, and love to organise.

Achievements in French and English at school led to a degree in Languages and Linguistics. As a new graduate, I got an admin job at Dillons the Bookstore, which in many ways was heaven: organising money and paperwork for 30 per cent of my day; unpacking and sorting books for the other 70 per cent.

I left that job for a better-paid admin job elsewhere, but the books kept calling so I applied for graduate editing jobs, and I was offered an editorial assistant job with a small business-to-business publisher. The process wasn’t a standard book publishing one, and we certainly didn’t use BSI marks, but I learnt about various types of content quality control and enjoyed editing colleagues’ writing.

After taking a ‘career break’ (i.e. three months travelling the world), I landed a desk editor job at Continuum in London. I was thrown into the deep end, managing books from manuscript submission to final proofs.

I then went to a large US corporation’s UK office to edit the work of ten in-house economic analysts, and that’s where my subject specialism started to develop. I studied for an ‘A’ level in Economics, read the Economist every week, and attended seminars on shipping routes and trade terms. I managed a monthly publication (with contributions from 15 economists), and edited reports that were revised annually. I became responsible for improving the economists’ writing skills – they came from all over the globe, so I learnt a lot about the challenges that non-native English speakers face when trying to express complicated concepts in their second (third, fourth) language.

From there, I headed to Glasgow to work as a publishing project manager for an education quango. The production processes were very paper-based, so I introduced an electronic workflow and encouraged the use of freelances to lessen the load on in-house staff. My role developed into quality control manager, so by the time I left I was responsible for ensuring a 60,000-page website (and around 100 printed publications every year) met specific quality standards.

I was moving further and further away from the words I love, so in January 2009 I stepped off the precipice and joined the freelance community. I had joined the SfEP Glasgow group in 2007 and received advice, support and encouragement, and I had already done a couple of freelance projects alongside my full-time job, so I felt informed about, and prepared for, my leap.

I sent a lot of emails, and my first few jobs were for previous employers. In that first year a conversation with a friend (a university lecturer) evolved into working with a journalist to create a database of English writing examples and questions, to help university students (both native and non-native English speakers) improve their writing skills.

I kept emailing potential clients, and by the end of my first year I had worked with 11 different organisations (four of which I still work with). The variety is key for me: last year, I did a five-month stint editing an economics journal (with its editorial board based in Hamburg); this year, I’m attending the PTC’s Editorial Project Management course, in preparation for offering another service to my clients.

I’m always on the lookout for new opportunities – I carry a notebook with me so I can jot down the names of organisations I would like to work with. Then, every few months, I do a bit of online research and approach those organisations. On my current list are publishers included in the reference list of an article I’ve edited, a think-tank that featured in a TV documentary, and a research institute that someone mentioned at a birthday party.

Abi SaffreyAbi Saffrey is a professional member of the SfEP. She specialises in copy-editing and proofreading economics and social policy content, and anything within the wider social sciences realm. Abi is a social introvert with two young children, and slight addictions to bootcamps and tea.

Proofread by SfEP entry-level member Susan Walton.

The views expressed here do not necessarily represent those of the SfEP.

How I got started – Samantha Stalion

Samantha Stalion working outsideOne of the most common questions asked at Society for Editors and Proofreaders (SfEP) local groups and by those interested in pursuing a career in editing or proofreading is: ‘How did you get started?’.

SfEP ordinary member Samantha Stalion shares her story in this regular blog feature, which explores the many different career paths taken by SfEP members.

As I sit here in the sunshine, with my laptop and ergonomic mouse on the table in front of me, I cannot help but ponder my life. How did I end up here? I guess it’s taken me a while to realise what it is I want to do with my life. I mainly have my husband to thank for my long-awaited eureka moment just over two years ago. But not least I should mention my editor-in-chief father, who has remained supportive and encouraging over the years, and who – although I only recently realised this – has continuously looked over me, exuding his own unrivalled determination and proficiency in the publishing profession. Perhaps it was my adoration for my father and the entrepreneurial mindset of my ambitious husband that have somehow combined to spur me on to reach my own goals and continue to develop professionally.

I don’t think I was ever particularly academically gifted – I was merely an average student – but a certain degree of maturity and curiosity to learn more about the world we live in has enabled me to use my skills to master my profession and steadily move forward, making a living along the way. As an editorial fledgling, I was lucky enough to have some great role models and mentors over the years, and my fluency in various languages and broadened horizons have certainly added to my competency in this profession.

In any case, going back to how I got here … I have a lot to say for my (or indeed anyone’s) multicultural and multilingual upbringing. English, German and Dutch all played an integral role in my early years, and later (at degree level) Spanish was added to these language skills. Not only were the languages a part of my upbringing, so too were the cultures behind these languages and the countries in general. As languages remained very much a part of my everyday life, I began to explore these skills and integrate them into my professional career, choosing jobs that required them. I ventured into translation and successfully completed a postgraduate translation course run by City University London. Having realised that there is much more to translation than generally assumed, I became intrigued by other professions that depended on language skills.

Owing to my father’s connections (and, in a way, I guess my own connections), I was able to land a gig translating articles on religions for an encyclopedia, for a reputable academic publisher in the Netherlands. I worked on this project for a couple of years, on a part-time basis, before being asked to work on other encyclopedia projects – not as a translator, but as a copy-editor. With next to no copy-editing experience, I was given on-the-job training and, four years and a few pay rises later, I am still copy-editing for the same publishing firm on a couple of different projects – I must be doing something right.

In the last couple of years, in addition to dabbling in freelance work alongside my full-time job in the printing industry, I decided to consolidate my editorial skills with some additional training and qualifications. I passed the ‘Basic proofreading by distance learning’ course provided by the Publishing Training Centre with merit and completed the ‘Brush up your grammar‘ course offered by the SfEP. After learning the proper use of BSI proofreading marks, and with some helpful tips and advice on how to get started as an editorial freelance, I gained the confidence necessary to jump into the full-time freelance whirlpool. Additionally, I successfully upgraded my SfEP membership status to ordinary member.

Local SfEP group meetings have been a source of encouragement and invaluable advice, and the forum discussion boards on the SfEP website remain a daily source of inspiration and guidance.

Unfortunately, with an imminent move to the States (the price you pay for being married to an American), gaining work and new clients has been slow going. However, I imagine with some extra determination and hard work I will get to where I want to be professionally before too long. After all, Rome wasn’t built in a day.

My advice to other freelance newbies just starting up their own business: draw on ALL the contacts you have and GO FOR IT!

Samantha Stalion profile shotSamantha Stalion was brought up in a multicultural family. She completed her high-school diploma in the Netherlands, studied Dance and Spanish at Chester University and completed a postgraduate translation course at City University London. Recently, she completed the ‘Basic proofreading by distance learning’ (PTC) and ‘Brush up your grammar’ (SfEP) courses and she is currently enrolled on the PTC’s ‘Copy-editing by distance learning’ course. Samantha is an ordinary member of the SfEP and recently launched her freelance business Samantix et al, offering editorial and translation services to academics and businesses.

Proofread by SfEP associate Sandra Rawlin.

The views expressed here do not necessarily reflect those of the SfEP.